Negotiation Panel
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Andrea Alvarez
Nov 2, 2011, 6:46:08 PM11/2/11
to vcu-museu...@googlegroups.com, Meredith Hertel
Hello Everyone,
I am attaching my panel to this email, and I will also post it to the group. Please be critical and constructive - I wrote this while in Doha and did not have my notes or anything with me, so I know that there are talking points that should be hit which I did not hit. Feel free to contribute to the discussion on the group or email me your tracked changes, either is fine by me, but I do think that the discussion would be nice since everyone could see the edits as they happen.
Thank you,
Andrea
Andrea Alvarez
Nov 2, 2011, 6:47:21 PM11/2/11
to VCU Museum Exhibits
In this gallery, one will find works of art that are manifestations of
the tensions felt by many early twentieth century individuals. After
the Great Migration and before the 1960s Civil Rights movement,
African Americans in the United States found themselves negotiating
between competing forces. Simultaneously African, American, and
African American, these artists from the early twentieth century
wrestled with conflicting notions of personal heritage, visual
traditions, and identity. The works in this gallery illustrate some
of these tensions and how the represented artists chose to express
themselves as artists.
Not only were the artists here negotiating their personal identities
within the North American context, but they were also negotiating the
modes of representation they would employ as visual artists.
Mainstream North American art early in the twentieth century could be
categorized in two broad categories: Regionalism, which was figurative
and represented many aspects of both urban and rural life in the
United States; and Abstraction, which was the newer of these two
artistic modes and which turned away from naturalistic imagery. While
some tendencies toward abstraction may have been native to North
America, the strongest push toward that visual tradition came from
European art and artists. The mainstream art scene in New York City
and Washington, D.C embraced abstraction. Many of the artists
represented in this gallery were based in these two artistic centers.
While they in some cases rejected the turn to abstraction and remained
true to detailed and realistic figurative representation (see Dox
Thrash), others occasionally mixed the two (see Norman Lewis’ two-
sided work in the center of this room). In other instances, artists
fully embraced abstraction (see Norman Lewis’ “Roseate Mist,” also in
this gallery).
As you walk around this gallery, consider how the artworks may have
represented the artists as they left their studios and went out into
galleries and museums.
In this gallery, one will find works of art that are manifestations of
the tensions felt by many early twentieth century individuals. After
the Great Migration and before the 1960s Civil Rights movement,
African Americans in the United States found themselves negotiating
between competing forces. Simultaneously African, American, and
African American, these artists from the early twentieth century
wrestled with conflicting notions of personal heritage, visual
traditions, and identity. The works in this gallery illustrate some
of these tensions and how the represented artists chose to express
themselves as artists.
Not only were the artists here negotiating their personal identities
within the North American context, but they were also negotiating the
modes of representation they would employ as visual artists.
Mainstream North American art early in the twentieth century could be
categorized in two broad categories: Regionalism, which was figurative
and represented many aspects of both urban and rural life in the
United States; and Abstraction, which was the newer of these two
artistic modes and which turned away from naturalistic imagery. While
some tendencies toward abstraction may have been native to North
America, the strongest push toward that visual tradition came from
European art and artists. The mainstream art scene in New York City
and Washington, D.C embraced abstraction. Many of the artists
represented in this gallery were based in these two artistic centers.
While they in some cases rejected the turn to abstraction and remained
true to detailed and realistic figurative representation (see Dox
Thrash), others occasionally mixed the two (see Norman Lewis’ two-
sided work in the center of this room). In other instances, artists
fully embraced abstraction (see Norman Lewis’ “Roseate Mist,” also in
this gallery).
As you walk around this gallery, consider how the artworks may have
represented the artists as they left their studios and went out into
galleries and museums.
the tensions felt by many early twentieth century individuals. After
the Great Migration and before the 1960s Civil Rights movement,
African Americans in the United States found themselves negotiating
between competing forces. Simultaneously African, American, and
African American, these artists from the early twentieth century
wrestled with conflicting notions of personal heritage, visual
traditions, and identity. The works in this gallery illustrate some
of these tensions and how the represented artists chose to express
themselves as artists.
Not only were the artists here negotiating their personal identities
within the North American context, but they were also negotiating the
modes of representation they would employ as visual artists.
Mainstream North American art early in the twentieth century could be
categorized in two broad categories: Regionalism, which was figurative
and represented many aspects of both urban and rural life in the
United States; and Abstraction, which was the newer of these two
artistic modes and which turned away from naturalistic imagery. While
some tendencies toward abstraction may have been native to North
America, the strongest push toward that visual tradition came from
European art and artists. The mainstream art scene in New York City
and Washington, D.C embraced abstraction. Many of the artists
represented in this gallery were based in these two artistic centers.
While they in some cases rejected the turn to abstraction and remained
true to detailed and realistic figurative representation (see Dox
Thrash), others occasionally mixed the two (see Norman Lewis’ two-
sided work in the center of this room). In other instances, artists
fully embraced abstraction (see Norman Lewis’ “Roseate Mist,” also in
this gallery).
As you walk around this gallery, consider how the artworks may have
represented the artists as they left their studios and went out into
galleries and museums.
In this gallery, one will find works of art that are manifestations of
the tensions felt by many early twentieth century individuals. After
the Great Migration and before the 1960s Civil Rights movement,
African Americans in the United States found themselves negotiating
between competing forces. Simultaneously African, American, and
African American, these artists from the early twentieth century
wrestled with conflicting notions of personal heritage, visual
traditions, and identity. The works in this gallery illustrate some
of these tensions and how the represented artists chose to express
themselves as artists.
Not only were the artists here negotiating their personal identities
within the North American context, but they were also negotiating the
modes of representation they would employ as visual artists.
Mainstream North American art early in the twentieth century could be
categorized in two broad categories: Regionalism, which was figurative
and represented many aspects of both urban and rural life in the
United States; and Abstraction, which was the newer of these two
artistic modes and which turned away from naturalistic imagery. While
some tendencies toward abstraction may have been native to North
America, the strongest push toward that visual tradition came from
European art and artists. The mainstream art scene in New York City
and Washington, D.C embraced abstraction. Many of the artists
represented in this gallery were based in these two artistic centers.
While they in some cases rejected the turn to abstraction and remained
true to detailed and realistic figurative representation (see Dox
Thrash), others occasionally mixed the two (see Norman Lewis’ two-
sided work in the center of this room). In other instances, artists
fully embraced abstraction (see Norman Lewis’ “Roseate Mist,” also in
this gallery).
As you walk around this gallery, consider how the artworks may have
represented the artists as they left their studios and went out into
galleries and museums.
Elizabeth Fuqua
Nov 7, 2011, 9:19:44 AM11/7/11
to vcu-museu...@googlegroups.com
Hello Andrea/All,
Attached is the tracked changes of Andrea's text panel. As for talking
points I really do this you covered it.
Izzie
--
M.A. Student, Museum Studies
President, Art History Graduate Student Association
Virginia Commonwealth University
Department of Art History, School of the Arts
922 W. Franklin St.
P.O. Box 843046
Richmond, VA 23284-3046
fuq...@vcu.edu
Andrea Alvarez
Nov 7, 2011, 9:23:24 PM11/7/11
to vcu-museu...@googlegroups.com
Hi Everyone,
First of all, thank you to Grace & Izzie who have given me really good feedback on my panel. I will work on incorporating your comments and will bring a new draft for review next week. I apologize for the fact that I sent the document twice in one document - I didn't realize I sent the version that had it twice so that I could print it out for class on half sheets of paper.
As I mentioned last week, I won't be in class this Wednesday. I am excited to hear about how it goes and what decisions you all make - I trust you all! I am not worried in the least about not being there, I think by now most of you know my opinions and I think we're pretty much on the same page about everything anyways. I would really appreciate if someone could take notes so that I can get a sense of what happened and what I missed.
Thanks again, and see you next week!
Andrea
Peggy Lindauer
Nov 8, 2011, 10:25:03 AM11/8/11
to vcu-museu...@googlegroups.com
Andrea,
Are both sets of comments on the same doc? I don't think I received Grace's. Hold off on the re-write until after you receive notes from tomorrow's class. -Peggy
Margaret A. Lindauer
Associate Professor & Museum Studies Coordinator
P.O. Box 843046
Department of Art History
Virginia Commonwealth University
Richmond, VA 23284-3046
Andrea Alvarez
Nov 8, 2011, 10:52:00 AM11/8/11
to vcu-museu...@googlegroups.com
Peggy,
No - Grace gave me handwritten edits last week. I will hold off until I hear back from everyone else. Thank you,
Andrea
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